I have always been fascinated by what my childhood self called “the olden days.” Spellbound by faded sepia portraits of family members I'd never met, and hearing my parents’ stories about escaping pogroms and poverty, I acquired an acute sensitivity to human suffering, alongside a deep awareness of the way time works to both elucidate and obscure human experience. Photography, as a so-called “time-based art” became the perfect medium for me to create my own visual interpretation of time. My father put a Kodak Brownie camera in my hands when I was seven, and I was hooked forever.
My photography practice mostly functions as a visual diary. On almost a daily basis I take lots and lots of pictures. I use photography to call attention to things that other people overlook, but are significant, troubling, or wonderful to me. Family life, my womanhood, and both urban and natural environments are ongoing concerns. My goal is to draw people in to pay attention to these everyday experiences with me, and to share in the storytelling.
That said, recently I’ve stepped away from my traditional photography practice to experiment with Cyanotype, a historical process invented in 1842. It is a non-toxic, light-sensitive emulsion that, when exposed to the sun, turns a very intoxicating Prussian blue. I’m working with paper and fabric substrates, making experimental “sketches.” The results are intriguing, ghostly monochromatic images of the same native weeds and wildflowers I had been photographing with my camera. I sometimes add stitching to these pieces. I feel newly intimate with my materials, touching everything from start to finish, without the intervention of machines, digital or otherwise.
I show my work widely in Fairfield County and in NYC, having long-standing affiliations with the Creative Center in Manhattan, and with the Ridgefield Guild of Artists and Artists Collective of Westport.